This is an old topic, but I am surprised that no one has mentioned that grand old radio show out of San Francisco, "Music from the Hearts of Space" -- It was carried by NPR for years (might still be in some areas) and I basically grew up listening to it on a regular basis... Hearts of Space DJ Stephen Hill probably has a lot to do with my musical outlook now (although my later discovery of industrial and psy-trance genres has sped things up a little ). I always thought his radio voiceovers sounded tranquilised to the point of near-coma.

Well, if you fall asleep during a space music concert, it's a compliment.

well.. I would not bother going to a music concert only to fall asleep _________________homepage - blog - forum - youtube

Quote:

The man that hath no music in himself, nor is not mov'd with concord of sweet sounds, is fit for treasons, stratagems and spoils; the motions of his spirit are dull as night and his affections dark as Erebus: Let no such man be trusted. - W. Shakespeare

I wasn't really fair about that that sleep comment. Philadelphia's Gatherings are one of the best space music venues. I feel fortunate to be able to go to them, and I try to attend every concert. I'm very rarely disappointed even when the tempo is just a tad north of coma. Sometimes you even get a toe tapper. _________________--Howard
my music and other stuff

I just talked to Chuck Van Zyl tonight. He's going to prepare a talk for electro-music 2005 about this topic, and how the Gatherings in Philadelphia are related. Should be facinating._________________--Howard
my music and other stuffLast edited by mosc on Sat Jan 22, 2005 9:49 am; edited 1 time in total

Who is Chuck Van Zyl? Rings a bell.. not a big one though.._________________A Charity Pantomime in aid of Paranoid Schizophrenics descended into chaos yesterday when someone shouted, "He's behind you!"

Chuck has a space music radio program in Philladelphia called Stars End on WXPN. He also is responsible for a very long running (20 years I think) concert series called The Gatherings. This is one of if not the preminent venues for space music in North America. He also is a musician who performs, you guessed it, space music with his cohort, Art Cohen. They call themselves The Ministry of Inside Things. That's how Theremin refered to the KGB in a film about his life._________________--Howard
my music and other stuff

mmmm.... space-music (picture Homer Simpson). I've never been to a 'space-music concert', I rarely listen to space-music on sat-rad, but I can tell you how I see it from working in a planetarium for a number of years... being part of the script-writing process... actually being the control-console operator (all manual, not computerized) for the star shows and laser light-shows, and specifically composing and recording the music used in those shows.

Surprisingly, the space-music genre is much like every other genre in that it has so many sub-genre. First, while going over the script(s) for the shows, there are a few things to be considered, such as mood; timeframe in relation to the script and effects; and the overall feel when the narration vocal(s) are in place.

But- music for scripts can be really any genre that is appropriate for particular project, show, section of the show, jingle, commercial, or whatever. Good ol' space-music is what I would compose, then sit down in the planetarium, shut-off all the lights, turn on the main starfield, planets, and bright stars... and I would set the main star projector to slowly rotate so that the starfield was in continuous motion. With special effects projectors, I would run the 'warp-drive' effect, so that you feel like the stars are rushing past you as you travel through the galaxy.

But of course, space-music can have a more normal song structure. But- it is my opinion that 'space-music' should nearly always be performed on synthesizers (with few exceptions), and have an electronic sound (vs. samples of existing instruments), and imply a science-fiction flavor... even if it's science-fact. And that IS just my opinion... but it's been tested in probably the very best way possible... in a planetarium theater. That is how I (and the staff) selected which tracks worked with what, and where... listening to them under the stars projected on the dome.

Now... getting back to just the music (vs. planetarium show music).... it's still about setting the mood to let your mind explore and wander. The sounds and the music structure still does that, or can... and should. But, I think that the golden rule of recording engineering applies here, as well... and that is "less is more". There is a reason the term "over-kill" applies to compositions and mixes... too much and you kill it. There is almost always the temptation to add just one more little thing... something I am guilty of, too.

As to genre of space-music... probably most genre could be used and played on synths... but somehow, I doubt that Rap or Country will ever get to be subgenre of space-music._________________~Morbius~
http://www.MusicByCybertron.com

This thread is great! I love those album covers. Reminds me of my favorite B movie "LaserBlast."

I always assumed space music was pure, synthetic, science-themed psychedelia (is that a word?) and drugs are a necessity. I would think that any complex rhythms that would be used in other drug-oriented music would be replaced by lots of panning and (at shows) lighting. It sounds great. I always wanted to do a song that tried to capture the feeling in a planetarium. I always liked the synths they used, even as a kid.

Remember that scene in the original Superman movie when the evil Kryptonians are sent away in that flipping mirror? And the spinning rings around people? That STILL creeps me out, and no remake could ever do a better job.

Nope. What I really wish I still had is the 2500. I found that little gem around 1979 or 80 at Ardent Studios in Memphis for $3,000, and it was in pretty good shape as I recall. (seems to me that Led Zepplin III was mastered there... I think)(I could be wrong about that).

Roger A. now has my old MiniMoog. The pic of the 3-C and that particular 2600 belonged to Memphis State... and, at that time WAS the Electronic Music lab. George Harrison's Moog was owned by Sounds of Memphis studios, and there was a 2-P that was owned by the William B. Tanner studios, where I did a lot of work, and actually did the sound f/x and melody-line for the very first 'Weed Eater' commercial.

Back then, very few people knew anything about synthesizers... some couldn't spell it (my mother couldn't pronounce it)... and the Moog 2-P had all of it's patch-points numbered with a label-maker. The VP who had been the only one to use it, didn't know any theory... it was a trial & error thing, so he numbered all of the jacks... an effort to notate his patches.

Seems like it was more 'funner' back then... when there was alot of mystery concerning modulars. There really wasn't anthing like them back them, at least, as far as the general public was concerned.

Sorry for all of the blabbing in response to your simple question... a fault of mine. I really should be spanked... severely. However, I've run out of pretty young women to do the deed. _________________~Morbius~
http://www.MusicByCybertron.com

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